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Editorial Reviews
2009 release from the Jazz vocalist. Recorded live at Lincoln Center, the premier vocalist of his generation salutes and re-interprets one of the greatest Jazz albums of all time: John Coltrane And Johnny Hartman. This is the album Elling fans have been waiting for! This live performance is a stunning spectrum of music, Both vocal and instrumental. Kurt Elling is the preeminent male Jazz singer today. He has earned eight Grammy nominations, the top spot placement in the Down Beat critics' and Jazz Times reader's polls, four Jazz Journalists Association wins for Best Male Vocalist and the Prix Billie Holiday from the Academe Du Jazz in Paris.
Customer Reviews
Most Helpful Customer Reviews
23 of 25 people found the following review helpful
Format:Audio CD
Many, myself included, hold the opinion that John Coltrane/Johnny Hartman's 1963 eponymous album is the greatest vocal jazz c.d. ever recorded. Based on this recording, one person who certainly agrees with that assessment is Kurt Elling. This is a loving tribute, a loving re-creation.
Is it as good? As they say in the opera world, "Aria kidding me??" No modern jazz or cabaret singer has the full, rich bass-baritone range of Johnny Hartman; and nobody can produce gut-wrenching sheets of sound, past or present, like John Coltrane.
Yet, if there is one male jazz singer who could do the album justice, it is Kurt Elling. But interestingly, he doesn't use the structure of the Coltrane/Hartman or the Coltrane Ballads albums (both of which he covers here, as the original Coltrane/Hartman album was only about 30 minutes long) as a springboard for his wild vocalese, like you might expect. Instead, with pianist Laurence Hobgood's arrangements for the "Ethel" string quartet, the c.d. takes a "classical feel," as though this is truly classical music that deserves such treatment; and the incredibly soulful Ernie Watts is on hand, to remind us all that this, after all, was Trane's music.
All of that sounds like a 4-star review. The reason for 5 is: Elling sings beautifully. As I noted in my review of 2007's wonderful "Nightmoves," he is getting more like Sinatra all of the time. I was particularly impressed by how well he was able to jump vocal registers in "Lush Life"; not many singers can do what he did here. And Hobgood and Elling have done a marvelous job in producing this c.d. It sounds wonderful, throughout.
I'm glad Kurt Elling did this tribute. I look forward to his return to the approaches he has taken on tunes such as "Tanya Jean," "Effendi," and "Hold Tight." RC
Is it as good? As they say in the opera world, "Aria kidding me??" No modern jazz or cabaret singer has the full, rich bass-baritone range of Johnny Hartman; and nobody can produce gut-wrenching sheets of sound, past or present, like John Coltrane.
Yet, if there is one male jazz singer who could do the album justice, it is Kurt Elling. But interestingly, he doesn't use the structure of the Coltrane/Hartman or the Coltrane Ballads albums (both of which he covers here, as the original Coltrane/Hartman album was only about 30 minutes long) as a springboard for his wild vocalese, like you might expect. Instead, with pianist Laurence Hobgood's arrangements for the "Ethel" string quartet, the c.d. takes a "classical feel," as though this is truly classical music that deserves such treatment; and the incredibly soulful Ernie Watts is on hand, to remind us all that this, after all, was Trane's music.
All of that sounds like a 4-star review. The reason for 5 is: Elling sings beautifully. As I noted in my review of 2007's wonderful "Nightmoves," he is getting more like Sinatra all of the time. I was particularly impressed by how well he was able to jump vocal registers in "Lush Life"; not many singers can do what he did here. And Hobgood and Elling have done a marvelous job in producing this c.d. It sounds wonderful, throughout.
I'm glad Kurt Elling did this tribute. I look forward to his return to the approaches he has taken on tunes such as "Tanya Jean," "Effendi," and "Hold Tight." RC
13 of 15 people found the following review helpful
By Rick Erben
Format:Audio CD
One of the legendary jazz meetings was that between the John Coltrane Quartet and singer Johnny Hartman in 1963 for Impulse Records. It's six tracks captured an ambiance of vocal and instrumental interaction that has become iconic as a standard of a perfect session. Singer Kurt Elling, a jazz performer with a style uniquely his own - like a Mark Murphy - has released "Dedicated To You" - recorded live at the Allen Room of New York's Lincoln Center.
How flawed it would be to attempt to recreate John Coltrane And Johnny Hartman as it was originally recorded. The session was a brief meeting between a legendary musician and his long-time quartet and the literally inimitable baritone voice of Johnny Hartman. By whatever chance of felicity occasioned this session, that failed to generate much enthusiasm after its release, time has taken these classic tracks and imbued them with a musical flavor much as the with finest wine, exquisitely aged. The music only becomes better. What difficult task, then, to revisit this music and evoke the masters. Too often, tribute recordings such as this fall prey to that very fallacy, that classic recordings are just that - impossible to recreate and attempts to honor them or capture their flavor can only fall short in comparison, whether the attempt be good or marginal. So Elling must have considered this potential pitfall, yet he is no singer that would endeavor to do a cover - his style is too unique and invested of its own indomitable energy. So the project Elling undertook was to honor the album on his own terms. To that extent, the result is exquisite. It is, in many ways, a signature statement from Elling, summing up his style in a reverent yet thoroughly exciting performance.
Kurt Elling, although capable of beautiful ballad singing, possesses a powerful tenor voice capable of soaring notes that he his not reluctant to use to ofttimes startling degree. Generally Elling is not for the faint hearted. He is also a highly exciting stylist, either with familiar fair or his frequent explorations of jazz standards to which he adds lyrics. Witness his treatment of Freddie Hubbard's "Delphia" (not an easy vocal task by any standard) on "This Time It's Love" (Blue Note), that Elling re-titles as "Freddie's Yen For Jen" or Donald Byrd's "Tanya" on "The Messenger" (Blue Note). He will also embark upon beat-influenced flights that recall Lord Buckley, or Kerouac, on tracks such as "It's Just A Thing" from "The Messenger". There's a degree of similarity with Mark Murphy as such, although Elling perhaps carries these concepts to a greater degree that may have more than a little to do with relative age at the onset of CD recording lengths.
All of which brings us to "Dedicated To You". Elling is accompanied by long-time pianist Laurence Hobgood - a fine player who is perfectly attuned to Elling and his flights. Ernie Watts guests with the tenor saxophone work and the rhythm section is fleshed out with bassist Clark Sommers and drummer Ulysses Owens. For added effect, the ETHEL String Quartet is present for this engagement.
All six tracks from the Coltrane And Hartman session are represented, as well as several numbers that Coltrane did on his "Ballads" album. The string quartet opens "All Or Nothing At All", that also provides interesting counterpoint to the rhythm section's vamp on the familiar melody. Elling renders this torchy ballad in relatively laid-back form, his hearty voice resonating beautifully and fading for Watts' tenor solo. There's echoes of Coltrane's sound here, with intonations alluding to his style on occasion. Watts is a fine, experienced player and his sound is warm, rich and fulfills the intent.
Rather than the expected vocal, "Easy To Remember" is Elling's dissertation upon the circumstances of the classic Coltrane/Hartman meeting. Sensitively done, with strings and piano, Elling tells us, "we remember them both. We're jazz people. And, for us, it's easy".
For a moment with the plucking of strings, one thinks it's Stan Getz's "Focus" album. But it's Kurt Elling, delicately traipsing into Rodgers and Hart's "Dedicated To You". As with any superb stylist, Elling's reading of the tune is not precise but inflected with his own interpretation and augmentation of the melody. Hobgood's piano solo evolves into a soaring statement whereupon Elling sails in again with a remarkable vocal flight before the number ends with the soft plucking of the strings. Very nice.
Billy Strayhorn's "Lush Life", the quintessential lament of love lost and life in limbo, bears the indelible stamp of the mood Hartman conveyed. Elling makes his own mark upon the song while rendering a thoroughly unique interpretation. "Autumn Serenade", such a gorgeous tune, is treated a few beats up from the classic version and Watts' tenor reigns until Elling voices the devastatingly gorgeous lyrics of this evergreen.
"Say It (Over And Over Again)" , from the pens of Frank Loesser and Jimmy McHugh, is another one of the nonpareil ballads, "standards", that weather the years impeccably due to their finely crafted, intelligent lyrics and exquisite melodies. Elling takes this one softly in a number that is showcase for Watts and beautifully enhanced with the strings. Note that this isn't a string dubbed recording. The string quartet is used in tasteful effect, not continually, or obtrusively to cover up defects or lacks in the performance. It really works quite well.
"They Say It's Wonderful" is done as a relaxed swinger versus the straight balladic treatment on the Coltrane/Hartman album. This is a nice embellishment and sounds more as if it comes from Sinatra's "Songs For Swingin' Lovers" - an easy, breezy gas. "Nancy With The Laughing Face" harkens back to Sinatra, as well, actually; although Coltrane also did it on his "Ballads" session. The treatment is a step or two up from the melancholy ballad with Elling's voice again resonating with control and style. The album closes with "You Are Too Beautiful", another Rodgers and Hart number, the lyrics of which would be worth the price of admission of themselves - timeless, substantial and warm. Elling imbues the tune with a convincing reading interspersed by Watts' tenor, a string passage and then returns to the refrain to end a marvelously conceived and delightfully executed album.
How flawed it would be to attempt to recreate John Coltrane And Johnny Hartman as it was originally recorded. The session was a brief meeting between a legendary musician and his long-time quartet and the literally inimitable baritone voice of Johnny Hartman. By whatever chance of felicity occasioned this session, that failed to generate much enthusiasm after its release, time has taken these classic tracks and imbued them with a musical flavor much as the with finest wine, exquisitely aged. The music only becomes better. What difficult task, then, to revisit this music and evoke the masters. Too often, tribute recordings such as this fall prey to that very fallacy, that classic recordings are just that - impossible to recreate and attempts to honor them or capture their flavor can only fall short in comparison, whether the attempt be good or marginal. So Elling must have considered this potential pitfall, yet he is no singer that would endeavor to do a cover - his style is too unique and invested of its own indomitable energy. So the project Elling undertook was to honor the album on his own terms. To that extent, the result is exquisite. It is, in many ways, a signature statement from Elling, summing up his style in a reverent yet thoroughly exciting performance.
Kurt Elling, although capable of beautiful ballad singing, possesses a powerful tenor voice capable of soaring notes that he his not reluctant to use to ofttimes startling degree. Generally Elling is not for the faint hearted. He is also a highly exciting stylist, either with familiar fair or his frequent explorations of jazz standards to which he adds lyrics. Witness his treatment of Freddie Hubbard's "Delphia" (not an easy vocal task by any standard) on "This Time It's Love" (Blue Note), that Elling re-titles as "Freddie's Yen For Jen" or Donald Byrd's "Tanya" on "The Messenger" (Blue Note). He will also embark upon beat-influenced flights that recall Lord Buckley, or Kerouac, on tracks such as "It's Just A Thing" from "The Messenger". There's a degree of similarity with Mark Murphy as such, although Elling perhaps carries these concepts to a greater degree that may have more than a little to do with relative age at the onset of CD recording lengths.
All of which brings us to "Dedicated To You". Elling is accompanied by long-time pianist Laurence Hobgood - a fine player who is perfectly attuned to Elling and his flights. Ernie Watts guests with the tenor saxophone work and the rhythm section is fleshed out with bassist Clark Sommers and drummer Ulysses Owens. For added effect, the ETHEL String Quartet is present for this engagement.
All six tracks from the Coltrane And Hartman session are represented, as well as several numbers that Coltrane did on his "Ballads" album. The string quartet opens "All Or Nothing At All", that also provides interesting counterpoint to the rhythm section's vamp on the familiar melody. Elling renders this torchy ballad in relatively laid-back form, his hearty voice resonating beautifully and fading for Watts' tenor solo. There's echoes of Coltrane's sound here, with intonations alluding to his style on occasion. Watts is a fine, experienced player and his sound is warm, rich and fulfills the intent.
Rather than the expected vocal, "Easy To Remember" is Elling's dissertation upon the circumstances of the classic Coltrane/Hartman meeting. Sensitively done, with strings and piano, Elling tells us, "we remember them both. We're jazz people. And, for us, it's easy".
For a moment with the plucking of strings, one thinks it's Stan Getz's "Focus" album. But it's Kurt Elling, delicately traipsing into Rodgers and Hart's "Dedicated To You". As with any superb stylist, Elling's reading of the tune is not precise but inflected with his own interpretation and augmentation of the melody. Hobgood's piano solo evolves into a soaring statement whereupon Elling sails in again with a remarkable vocal flight before the number ends with the soft plucking of the strings. Very nice.
Billy Strayhorn's "Lush Life", the quintessential lament of love lost and life in limbo, bears the indelible stamp of the mood Hartman conveyed. Elling makes his own mark upon the song while rendering a thoroughly unique interpretation. "Autumn Serenade", such a gorgeous tune, is treated a few beats up from the classic version and Watts' tenor reigns until Elling voices the devastatingly gorgeous lyrics of this evergreen.
"Say It (Over And Over Again)" , from the pens of Frank Loesser and Jimmy McHugh, is another one of the nonpareil ballads, "standards", that weather the years impeccably due to their finely crafted, intelligent lyrics and exquisite melodies. Elling takes this one softly in a number that is showcase for Watts and beautifully enhanced with the strings. Note that this isn't a string dubbed recording. The string quartet is used in tasteful effect, not continually, or obtrusively to cover up defects or lacks in the performance. It really works quite well.
"They Say It's Wonderful" is done as a relaxed swinger versus the straight balladic treatment on the Coltrane/Hartman album. This is a nice embellishment and sounds more as if it comes from Sinatra's "Songs For Swingin' Lovers" - an easy, breezy gas. "Nancy With The Laughing Face" harkens back to Sinatra, as well, actually; although Coltrane also did it on his "Ballads" session. The treatment is a step or two up from the melancholy ballad with Elling's voice again resonating with control and style. The album closes with "You Are Too Beautiful", another Rodgers and Hart number, the lyrics of which would be worth the price of admission of themselves - timeless, substantial and warm. Elling imbues the tune with a convincing reading interspersed by Watts' tenor, a string passage and then returns to the refrain to end a marvelously conceived and delightfully executed album.
9 of 10 people found the following review helpful
Format:Audio CD
Kurt Elling graciously accepted his first GRAMMY yesterday for the exquisite, tasteful, and always swingin' "Dedicated to You." It's the first time since 1993 a male vocalist has taken home the golden gramaphone for Best Vocal Jazz Album. This was Kurt's ninth GRAMMY nomination and his first win -- the first of many, we hope!
If you haven't heard this album yet, you're in for a real treat. Kurt and his musical director and collaborator, Laurence Hobgood, have creatively and lovingly "re-imagined" the jazz classic that John Coltrane and Johnny Hartman recorded in 1963. Laurence's arrangements are inspired. They're joined by the great Ernie Watts on tenor, bassist Clark Sommers, drummer Ulysses Owens, and the string quartet ETHEL. "Dedicated to You" was recorded live at New York's Lincoln Center in front of a *very* appreciative audience.
We've listened to this album repeatedly since it was released last summer, and it never grows old. We keep hearing new things to delight us.
Highly recommended! Buy it for yourself. Buy it for Valentine's Day. You'll love every minute of it!
If you haven't heard this album yet, you're in for a real treat. Kurt and his musical director and collaborator, Laurence Hobgood, have creatively and lovingly "re-imagined" the jazz classic that John Coltrane and Johnny Hartman recorded in 1963. Laurence's arrangements are inspired. They're joined by the great Ernie Watts on tenor, bassist Clark Sommers, drummer Ulysses Owens, and the string quartet ETHEL. "Dedicated to You" was recorded live at New York's Lincoln Center in front of a *very* appreciative audience.
We've listened to this album repeatedly since it was released last summer, and it never grows old. We keep hearing new things to delight us.
Highly recommended! Buy it for yourself. Buy it for Valentine's Day. You'll love every minute of it!
Most Recent Customer Reviews
5.0 out of 5 stars
I love it!
What can I say since I've known about Kurt Elling for several years now and already have several of his CD's? Read more
Published 3 months ago by Robert J. Mathes
5.0 out of 5 stars
Dedicated to you: Kurt Elling
Mr K. Elling did a "Hole in one" reminiscence of two excellent past perfomer in the Jazz world. I just brief heard one song of Mr. Elling once on a radio show. Read more
Published on March 28, 2011 by A j.Hartman fan
5.0 out of 5 stars
Thank you Kurt Elling!
What a voice. What a band. Very nicely done. Kurt says in the liner notes that he never thought he'd do a tribute album. I'm glad he did. Very smooth, very relaxing, beautiful. Read more
Published on December 19, 2010 by Ryan
4.0 out of 5 stars
Wary but pleased
While I am a Kurt Elling fan, I am also one of those who believe the night Johnnie Hartman and John Coltrane recorded their eponymous album was absolute magic that has yet to be... Read more
Published on November 12, 2009 by Maxmike
5.0 out of 5 stars
As good as live
Heard Kurt in Chicago in an abbreviated version. This album is marvelous, as is his talent and that of the supporting musicians.
Published on September 20, 2009 by Deborah L. Parrish
4.0 out of 5 stars
Kurt Elling in Top Form
Kurt Elling is currently the top male jazz singer, in my opinion, and with this CD he doesn't disappoint. Read more
Published on September 4, 2009 by Shirley Butler
5.0 out of 5 stars
Kurt at his best captured LIVE!
I was one of the lucky ones to be in NYC and present the night this concert was recorded. Mr. Elling interpertations of the music of John Coltrane and Johnny Hartman were... Read more
Published on September 4, 2009 by Ben Cassara
5.0 out of 5 stars
I'll "Say It Over And Over Again"...This Album Is Simply Grand!
On his Liner Notes acknowledgments, Kurt Elling thanked a group of people for making this album come into fruition. Read more
Published on August 28, 2009 by Rebecca*rhapsodyinblue*
5.0 out of 5 stars
A tribute from one great singer to another
If you love the Hartman/Coltrane album, and you love Kurt Elling, you will LOVE this album. Buy it!
Published on August 24, 2009 by W. Boyce Quinn
5.0 out of 5 stars
GREAT CD
Cool CD, glad I purchased it, especially since I got it on Amazon at a great price.
Published on August 18, 2009 by Dana L. Stone
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